Bottcher Sudwestdeutsches Kammerorchester Pforzheim Handschuh - Piano Works - COMPACT DISCS [CD]

The New Yorker Magazine said of Sara Zahn's Leonard Bernstein tribute, InchTo call it the best musical theatre in town is an understatement.Inch None other than Rex Reed proclaims InchIt takes a classic singer to do justice to the classic songs of a classic composer. That's why I can think of no one more qualified to capture and honor the musical legacy of Leonard Bernstein in his centennial year than Sara Zahn.InchHarbinger Records is pleased to announce the long-awaited follow-up to Sara Zahn's previous Witch Craft The Songs of Carolyn Leigh. That album was a smash hit with over 3,000 albums sold. Now Sara Zahn is back with another brilliant composer tribute. Leonard Bernstein was a giant of both the concert stage and Broadway. His songs are perfectly complimented by Sara's richly expressed singing. Sara Zahn is known internationally as a performer, recording artist and ASCAP songwriter, having written more than 200 songs for film and television. She has performed her solo acts to enthusiastic audiences in countries and venues as varied as Club Soda in Montreal, Canada, the Berkshire Theater Festival in Stockbridge, Massachusetts, and the renowned opera house, Teatro Liceu, in Barcelona, Spain. She is the recipient of the Manhattan Association of Cabaret (MAC) Hanson Award as Outstanding Performer, and a Back Stage Bistro Award as Outstanding Vocalist. Sara has headlined throughout the years at Manhattan's top cabaret and jazz clubs, including Rainbow and Stars, The Metropolitan Room, Eighty-Eight's and The Russian Tea Room, and performed an unprecedented three-month engagement at Michael's Pub. Stephen Holden, in his rave review in The New York Times, wrote InchIn a strong voice, Ms. Zahn sang everything with a clarity, assurance and measured passion that never got in the way of the material.Inch

Meet Jonah Yano, the Toronto based singer, songwriter, whose journey into music began with recording music using his cellphone in 2016. Having played piano and guitar as a child, it wasn't until Yano moved from Vancouver to Toronto in 2016 that he began putting his songs online, catching the eyes of Toronto's thriving local music scene. Spending the next couple of years obsessively songwriting and practicing vocals, and learning technical skills, he collaborated with Toronto duo MONEYPHONE on the 2018 song InchOn LockInch which became an underground success. Shortly after, Yano released his first solo single InchRolex, the Ocean' with producer Joseph L'etranger. Once he began writing his full EP, he was introduced to frequent collaborators BADBADNOTGOOD, who are featured on the EP's title track, Inchnervous.Inch Yano's work has garnered praise in major music publications like The Fader, Billboard, Complex, and Exclaim and the attention of Virgil Abloh and Gilles Peterson along with millions of streams on Spotify and Apple Music. Most recently, Yano released a highly praised cover of the Majestic's InchKey to Love (Is Understanding)Inch also with BADBADNOTGOOD, finding himself in the natural position of writing the feature length album, 2020's souvenir.Following a highly acclaimed 2019 which included the of an EP nervous, collaborations with BADBADNOTGOOD, MONEYPHONE, and Nono; industry praise from The Fader, Billboard, High Snobiety, NME, KCRW and Exclaim - it's not a stretch to say Jonah Yano's highly anticipated debut feature album souvenir took a lifetime to make.Yano's souvenir, mixes his soulful, genre blurring vocals with searing, personal lyrics. With collaborations from talents like producers Monsune (Inchstrawberry!,Inch InchdelicateInch), Leland Whitty of BADBADNOTGOOD (Inchpoor me,Inch Inchmonarch,Inch InchanywhereInch), and Jacques Greene (Inchwhat i can

Joseph Suder was an excellent pianist. In his works the piano remained an expressive instrument and did not become (as has been the case in the works of many other twentieth century composers) a sort of a percussion instrument. In these piano pieces, works representing a cross section of his compositional output from 1911 to 1951, Suder is concerned with extending the expressive range oft he piano. Elements of very different character can be found here dance and lyrical-serious song or humor and onomatopoeia. Although Suder proceeds from the precedents of the tradition like the dance types of the baroque, the Romantic scherzo, or the Song without Words, he transforms the tradition into something new by compressing form and expression in these short pieces and thus penetrating to what is essential.